Bibliography for Transatlantic Dialogues: British and American Art c. 1900-1970 (HA668)

[1]
‘BBC - Your Paintings’. [Online]. Available: http://www.bbc.co.uk/arts/yourpaintings/

[2]
‘Art and artists | Tate’. [Online]. Available: http://www.tate.org.uk/art

[3]
Harrison, Charles and Wood, Paul, Art in theory, 1900-2000: an anthology of changing ideas, New ed. Oxford: Blackwell Publishers, 2003.

[4]
Peters Corbett, David, Monks, Sarah, and Association of Art Historians (Great Britain), Anglo-American: artistic exchange between Britain and the USA, vol. Art history book series. Chichester: Wiley-Blackwell, 2012.

[5]
Crow, Thomas E., The rise of the sixties: American and European art in the era of dissent 1955-69, vol. The Everyman art library. London: Weidenfeld & Nicolson, 1996.

[6]
Foster, Hal, Art since 1900: modernism, antimodernism, postmodernism. London: Thames & Hudson, 2004.

[7]
‘Anglo–American Exchange<br> in Postwar Sculpture, 1945–1975’. [Online]. Available: http://www.getty.edu/museum/symposia/angloamerican.html

[8]
Gaiger, Jason, Frameworks for modern art, vol. AA318 : art of the twentieth century / Open University. London: Yale University Press, in association with Open University, 2003 [Online]. Available: http://www.loc.gov/catdir/toc/ecip045/2003014470.html

[9]
Varieties of modernism, 1st ed., vol. AA318 : art of the twentieth century / Open University. New Haven, Conn: Yale University Press, in association with The Open University, 2004.

[10]
Groseclose, Barbara S. and Wierich, Jochen, Internationalizing the history of American art: views. University Park, Pa: Pennsylvania State University Press, 2009.

[11]
Harrison, Charles, Since 1950: art and its criticism. New Haven, Conn: Yale University Press, 2009.

[12]
Lind, Maria, Ed., Abstraction, vol. Documents of contemporary art. Cambridge, Massachusetts: The MIT Press, 2013.

[13]
Pells, Richard H., Modernist America: art, music, movies, and the globalization of American culture. New Haven: Yale University Press, 2011.

[14]
Potts, Alex, Experiments in modern realism: world-making, politics and the everyday in postwar European and American art. New Haven, Connecticut: Yale University Press, 2013.

[15]
Amsterdam (Netherlands), Stedelijk Collection reflections: reflections on the collection of the Stedelijk Museum Amsterdam. Rotterdam: nai010 publishers, 2012.

[16]
Tallman, Susan, The contemporary print: from pre-pop to postmodern. London: Thames and Hudson, 1996.

[17]
Lee, Pamela M., Chronophobia: on time in the art of the 1960’s. Cambridge, Mass: MIT Press, 2004.

[18]
Houston, Joe and Columbus Museum of Art, Optic nerve: perceptual art of the 1960s. London: Merrell Pub. Ltd, 2007.

[19]
B. Taylor, Collage: the making of modern art. London: Thames & Hudson, 2004.

[20]
Wood, Jon, Hulks, David, Potts, Alex, Henry Moore Institute (Leeds, England), and J. Paul Getty Museum, Modern sculpture reader. Leeds: Henry Moore Institute, 2012.

[21]
Joachimides, Christos M., Rosenthal, Norman, Anfam, David, Martin-Gropius-Bau (Berlin, Germany), Royal Academy of Arts (Great Britain), and Saatchi Gallery, American art in the 20th century: painting and sculpture, 1913-1993. Munich: Prestel, 1993.

[22]
Phillips, Lisa, Haskell, Barbara, and Whitney Museum of American Art, The American century: art & culture, 1950-2000. New York: Whitney Museum of American Art, in association with W.W. Norton, 1999.

[23]
I. Sandler, American art of the 1960s, First edition., vol. Icon editions. New York: Harper & Row, 1988.

[24]
Siegel, Katy, Since ’45: America and the making of contemporary art. London: Reaktion, 2011.

[25]
Hopper, Edward, Wagstaff, Sheena, Tate Modern (Gallery), and Museum Ludwig, Edward Hopper. London: Tate Pub, 2004.

[26]
Siegel, Katy, High times, hard times: New York painting 1967-1975. New York, N.Y.: iCI Independent Curators International and D.A.P./Distributed Art Publishers, 2006.

[27]
Frascina, Francis, Art, politics and dissent: aspects of the art left in sixties America. Manchester: Manchester University Press, 1999 [Online]. Available: http://www.loc.gov/catdir/bios/hol058/99044155.html

[28]
D. Sylvester, Interviews with American artists. London: Pimlico, 2002.

[29]
Varnedoe, Kirk, Pictures of nothing: abstract art since Pollock, vol. A.W. Mellon lectures in the fine arts. Princeton, N.J.: Princeton University Press, 2006 [Online]. Available: http://www.loc.gov/catdir/toc/ecip069/2006006621.html

[30]
Phillips, Lisa and Whitney Museum of American Art, Beat culture and the New America, 1950-1965. Paris: Flammarion, 1995.

[31]
Wagner, Anne Middleton, A house divided: American art since 1955. Berkeley, Calif: University of California Press, 2012.

[32]
Elderfield, John and Museum of Modern Art (New York, N.Y.), American art of the 1960s, vol. Studies in modern art. New York: Museum of Modern Art, 1991.

[33]
Bryan-Wilson, Julia, Art workers: radical practice in the Vietnam War era. Berkeley, Calif: University of California Press, 2010.

[34]
Stephens, Chris, Stout, Katharine, and Tate Britain (Gallery), Art & the 60s: this was tomorrow. London: Tate, 2004.

[35]
Mellor, David and Barbican Art Gallery, The sixties art scene in London. London: Phaidon P., 1993.

[36]
Walker, John A., Cultural offensive: America’s impact on British art since 1945. London: Pluto, 1998.

[37]
Arnold, Dana and Peters Corbett, David, Eds., A companion to British art: 1600 to the present, vol. Wiley-Blackwell companions to art history. Chichester, West Sussex: Wiley-Blackwell, 2013 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9781118313763

[38]
Palazzo reale di Milano and British Council, English art today, 1960-76; [catalogue by I Barker]. Milano: Electa, 1976.

[39]
Grunenberg, Christoph and Harris, Jonathan, Summer of love: psychedelic art, social crisis and counterculture in the 1960s, vol. Tate Liverpool critical forum. Liverpool: Liverpool University Press, 2005.

[40]
Tickner, Lisa, Peters Corbett, David, and Association of Art Historians (Great Britain), British art in the cultural field, 1939-69, vol. Art history book series. Chichester: Wiley-Blackwell, 2012.

[41]
H. L. Robicsek, ‘“You Give Us This and We Give You That”’, Third Text, vol. 22, no. 2, pp. 257–271, Mar. 2008, doi: 10.1080/09528820802013131.

[42]
L. Tickner, ‘The Kasmin Gallery’, Oxford Art Journal, vol. 30, no. 2, pp. 233–268, May 2007, doi: 10.1093/oxartj/kcm007.

[43]
Curtis, Penelope and Henry Moore Institute (Leeds, England), Sculpture in 20th century Britain. Leeds: Henry Moore Institute, 2003.

[44]
Curtis, Penelope, Wilson, Kevin, and Royal Academy of Arts (Great Britain), Modern British sculpture. London: Royal Academy of Arts, 2011.

[45]
Sylvester, David, London recordings. London: Chatto & Windus, 2003.

[46]
Jackson, Lesley, The sixties: decade of design revolution. London: Phaidon, 1998.

[47]
Sandbrook, Dominic, White heat: a history of Britain in the swinging sixties. London: Abacus, 2007.

[48]
Frith, Simon and Horne, Howard, Art into pop. London: Methuen, 1987.

[49]
I. MacDonald, Revolution in the head: the Beatles’ records and the sixties. London: Fourth Estate, 1994.

[50]
Metzger, Rainer and Brandstätter, Christian, London in the sixties. London: Thames & Hudson, 2012.

[51]
Rycroft, Simon, Swinging city: a cultural geography of London 1950-1974, vol. Re-materialising cultural geography. Farnham: Ashgate, 2011 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780754689157

[52]
‘When Britain Went Pop! | Special Event | Christie’s’. [Online]. Available: http://www.christies.com/events/when-britain-went-pop/

[53]
‘Barbican - Pop Art Design’. [Online]. Available: http://www.barbican.org.uk/artgallery/event-detail.asp?ID=14797

[54]
Horowitz, Daniel, Consuming pleasures: intellectuals and popular culture in the postwar world, vol. The arts and intellectual life in modern America. Philadelphia, Pa: University of Pennsylvania Press, 2012.

[55]
Brauer, David E. and Menil Collection (Houston, Tex.), Pop art: U.S./U.K. connections, 1956-1966. Ostfildern-Ruit: Hatje Cantz Verlag, 2001.

[56]
Livingstone, Marco, Pop art: a continuing history. [London]: Thames and Hudson, 1990.

[57]
Madoff, Steven Henry, Pop art: a critical history, vol. The documents of twentieth-century art. Berkeley: University of California Press, 1997.

[58]
J. E. Bowlt, K. Varnedoe, A. Gopnik, and Museum of Modern Art (New York, N.Y.), Modern art and popular culture: readings in high & low. New York: Harry N. Abrams in association with the Museum of Modern Art, 1990.

[59]
Lippard, Lucy R. and Alloway, Lawrence, Pop art, 3rd ed., vol. World of art. London: Thames and Hudson, 1970.

[60]
Bankowsky, Jack, Gingeras, Alison M., Wood, Catherine, Tate Modern (Gallery), Hamburger Kunsthalle, and National Gallery of Canada (Ottawa), Pop life: art in a material world. London: Tate Publishing, 2009.

[61]
South Bank Centre, Pop prints: from the Arts Council Collection. London: South Bank Centre, 1993.

[62]
Moorhouse, Paul, Sandbrook, Dominic, and National Portrait Gallery (Great Britain), Pop art portraits. London: National Portrait Gallery, 2007.

[63]
Francis, Mark and Foster, Hal, Pop, vol. Themes and movements. London: Phaidon, 2005.

[64]
Whiting, Cécile, A taste for pop: pop art, gender, and consumer culture, vol. Cambridge studies in American visual culture. Cambridge: Cambridge University Press, 1997.

[65]
Foster, Hal, The first Pop age: painting and subjectivity in the art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton, N.J.: Princeton University Press, 2012.

[66]
Burton, Johanna and Princeton University, Pop art: contemporary perspectives. Princeton, N.J.: Princeton University Art Museum, 2007.

[67]
Walker, John Albert, Cross-overs: art into pop/pop into art. London: Comedia, 1987.

[68]
Doris, Sara, Pop art and the contest over American culture. Cambridge: Cambridge University Press, 2007 [Online]. Available: http://www.loc.gov/catdir/enhancements/fy0668/2006016729-d.html

[69]
Stief, Angela et al., Power up: female pop art. [Wien]: Kunsthalle Wien, 2010.

[70]
Perry, Gillian, Wood, Paul, and Open University, Themes in contemporary art, vol. AA318 : art of the twentieth century / Open University. New Haven, Conn: Yale University Press, in association with Open University, 2004.

[71]
Wood, Paul, Conceptual art, vol. Movements in modern art. London: Tate Publishing, 2002.

[72]
Boettger, Suzaan, Earthworks: art and the landscape of the sixties. Berkeley, Ca: University of California Press, 2002 [Online]. Available: http://www.loc.gov/catdir/toc/fy035/2002002316.html

[73]
Tufnell, Ben, Land art. London: Tate, 2006.

[74]
Kaiser, Philipp, Kwon, Miwon, and Museum of Contemporary Art (Los Angeles, Calif.), Ends of the earth: art of the land to 1974. Munich: Prestel, 2012.

[75]
Kastner, Jeffrey and Wallis, Brian, Land and environmental art, vol. Themes and movements. London: Phaidon, 1998.

[76]
Whiteley, Nigel, Art and pluralism: Lawrence Alloway’s cultural criticism, vol. Value, art, politics. Liverpool: Liverpool University Press, 2012.

[77]
Alloway, Lawrence, Network: art and the complex present. [Place of publication not identified]: UMI Research Press, 1984.

[78]
Alloway, Lawrence and Kalina, Richard, Imagining the present: context, content, and the role of the critic, vol. Critical voices in art, theory and culture. London: Routledge, 2006 [Online]. Available: http://www.loc.gov/catdir/toc/ecip0516/2005021292.html

[79]
Fried, Michael, Art and objecthood: essays and reviews. Chicago: University of Chicago Press, 1998.

[80]
Sylvester, David, About modern art: critical essays, 1948-2000, Rev. ed. London: Pimlico, 2002.

[81]
‘The War Game [1965]’. 20AD [Online]. Available: https://www.youtube.com/watch?v=nrGg8PfkbZw

[82]
Guilbaut, Serge, Reconstructing modernism: art in New York, Paris, and Montreal, 1945-1964. Cambridge, Mass: MIT Press, 1990.

[83]
Genter, Robert, Late modernism: art, culture, and politics in Cold War America, vol. The arts and intellectual life in modern America. Philadelphia: University of Pennsylvania Press, 2010.

[84]
Saunders, Frances Stonor, Who paid the piper?: the CIA and the cultural Cold War. London: Granta Books, 1999.

[85]
Crowley, David, Pavitt, Jane, and Victoria and Albert Museum, Cold War modern: design 1945-1970. London: V&A, 2008.

[86]
Anfam, David, Abstract expressionism, vol. World of art. London: Thames and Hudson, 1990.

[87]
Siegel, Katy, Abstract Expressionism, vol. Themes and movements. London: Phaidon Press, 2011.

[88]
Frascina, Francis, Pollock and after: the critical debate, 2nd ed. London: Routledge, 2000.

[89]
Landau, Ellen G., Reading abstract expressionism: context and critique. New Haven, Conn: Yale University Press, 2005 [Online]. Available: http://www.loc.gov/catdir/enhancements/fy0619/2004061583-b.html

[90]
Sandler, Irving, The New York School: the painters and sculptors of the fifties, 1st ed., vol. Icon editions. New York: Harper & Row, 1978.

[91]
Sandler, Irving, Abstract expressionism and the American experience: a reevaluation, vol. Mission critical series. Lenox, Mass: Hard Press Editions, 2009.

[92]
Carosso, Andrea, Cold War Narratives: American Culture in the 1950 S. Pieterlen: Peter Lang AG, Internationaler Verlag der Wissenschaften, 2013 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9783035105155

[93]
Kleeblatt, Norman L., Berger, Maurice, Balken, Debra Bricker, and Jewish Museum (New York, N.Y.), Action/abstraction: Pollock, de Kooning, and American art, 1940-1976. New York: Jewish Museum, under the auspices of The Jewish Theological Seminary of America, 2008.

[94]
Varnedoe, Kirk, Karmel, Pepe, Pollock, Jackson, Museum of Modern Art (New York, N.Y.), and Tate Gallery, Jackson Pollock. New York: Museum of Modern Art, 1998.

[95]
Lewison, Jeremy, Museum of Modern Art (New York, N.Y.), and Tate Gallery, Interpreting Pollock. London: Tate Gallery, 1999.

[96]
Elderfield, John, Frankel, David, De Kooning, Willem, and Museum of Modern Art (New York, N.Y.), De Kooning: a retrospective. New York: Museum of Modern Art, 2011.

[97]
Bürgi, Bernhard, Kertess, Klaus, Ubl, Ralph, and Kunstmuseum Basel, De Kooning: paintings, 1960-1980. Ostfildern-Ruit: Hatje Cantz.

[98]
Gaugh, Harry F. and Cincinnati Art Museum, Franz Kline. New York: Abbeville Press, 1985.

[99]
Anfam, David and Rothko, Mark, Mark Rothko: the works on canvas ; catalogue raisonné. New Haven: Yale U.P., 1998.

[100]
Shiff, Richard and De Kooning, Willem, Between sense and de Kooning. London: Reaktion, 2011.

[101]
Eliel, Carol S., Bedford, Christopher, Potts, Alex, Wagner, Anne Middleton, and Los Angeles County Museum of Art, David Smith: cubes and anarchy, 1st ed. [Los Angeles]: Los Angeles County Museum of Art, 2011.

[102]
Hamill, Sarah and Smith, David, David Smith: works, writings and interview. Barcelona: Polígrafa, 2011.

[103]
Smith, David, David Smith, vol. Phaidon focus. London: Phaidon, 2013.

[104]
Acker, Emma, ‘Artistic identity in a transatlantic age Patrick Heron, Peter Lanyon, and the New American Painting. (French).’, British Art Journal, vol. 10, no. 3, pp. 158–170, 2010 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=vth&AN=51011318&site=ehost-live

[105]
Heron, Patrick and Gooding, Mel, Painter as critic: Patrick Heron, selected writings. London: Tate Gallery Pub, 1998.

[106]
Gooding, Mel, Patrick Heron. London: Phaidon, 1994.

[107]
Causey, Andrew, Peter Lanyon: Modernism and the land, vol. Essays in art and culture. London: Reaktion, 2006.

[108]
Stephens, Chris and Tate Gallery St Ives, Peter Lanyon. London: Tate, 2010.

[109]
Stephens, Chris and Lanyon, Peter, Peter Lanyon: at the edge of landscape. London: 21 Publishing, 2000.

[110]
De Salvo, Donna M. et al., Hand-painted pop: American art in transition, 1955-62. Los Angeles: Museum of Contemporary Art, 1993.

[111]
Whiteley, Gillian, Junk: art and the politics of trash. London: I. B. Tauris, 2011 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=KentUniv&isbn=9780857720214

[112]
Robinson, Julia, Museu d’Art Contemporani (Barcelona, Spain), and Henie-Onstad kunstsenter, The anarchy of silence: John Cage and experimental art. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.

[113]
Craft, Catherine, An audience of artists: Dada, Neo-Dada, and the emergence of abstract expressionism. Chicago: University of Chicago Press, 2012.

[114]
Robinson, Julia E., Benjamin, Agnes Berecz, and Museo Nacional Centro de Arte Reina Sofía, New realisms, 1957-1962: object strategies between readymade and spectacle. Madrid : $b Museo Nacional Centro de Arte Reina Sofía: MIT Press, 2010.

[115]
Millar, Jeremy et al., Every day is a good day: the visual art of John Cage. London: Hayward Publishing, 2010.

[116]
Hopps, Walter, Davidson, Susan, Brown, Trisha, and Solomon R. Guggenheim Museum, Robert Rauschenberg: a retrospective. New York: Guggenheim Museum Publications, 1997.

[117]
Joseph, Branden Wayne, Random order: Robert Rauschenberg and the neo-avant-garde. Cambridge, Mass: MIT Press, 2003 [Online]. Available: http://www.loc.gov/catdir/toc/fy042/2003043620.html

[118]
Schimmel, Paul and Museum of Contemporary Art (Los Angeles, Calif.), Robert Rauschenberg: combines. Los Angeles, Ca: Museum of Contemporary Art, 2005.

[119]
Varnedoe, Kirk, Johns, Jasper, Bernstein, Roberta, and Museum of Modern Art (New York, N.Y), Jasper Johns: a retrospective. New York: Museum of Modern Art, 1996.

[120]
Johns, Jasper, Bernstein, Roberta, and San Francisco Museum of Modern Art, Jasper Johns: seeing with the mind’s eye. San Francisco: San Francisco Museum of Modern Art in association with Yale University Press, 2012.

[121]
Philadelphia Museum of Art and Barbican Art Gallery, Dancing around the bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp. Philadelphia, PA: Philadelphia Museum of Art in association with Yale University Press, 2012.

[122]
Hopps, Walter, Kienholz, Edward, Reddin-Kienholz, Nancy, Whitney Museum of American Art, Museum of Contemporary Art (Los Angeles, Calif.), and Berlinische Galerie, Kienholz: a retrospective : Edward and Nancy Reddin Kienholz. New York: Whitney Museum of American Art, in association with Thames and Hudson, London, 1996.

[123]
Massey, Anne, The Independent Group: modernism and mass culture in Britain, 1945-59. Manchester: Manchester University Press, 1995.

[124]
Hood Museum of Art, The Independent Group: postwar Britain and the aesthetics of plenty. Cambridge: MIT Press, 1990.

[125]
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[126]
Martin, Simon, Wilson, Colin St. John, Paolozzi, Eduardo, and Harrison, Miranda, Eduardo Paolozzi: Collaging Culture. Chichester: Pallant House Gallery Trust, 2013.

[127]
Hamilton, Richard, Collected words, 1953-1982. London: Thomas and Hudson.

[128]
Hamilton, Richard, Tate Gallery, and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), Richard Hamilton. London: Tate Gallery, 1992.

[129]
Hamilton, Richard, Foster, Hal, and Craig-Martin, Michael, Richard Hamilton, vol. October files. Cambridge, Mass: MIT Press, 2010.

[130]
John-Paul Stonard, ‘Pop in the Age of Boom: Richard Hamilton’s “Just What Is It That Makes Today’s Homes so Different, so Appealing?”’, The Burlington Magazine, vol. 149, no. 1254, 2007 [Online]. Available: http://www.jstor.org.chain.kent.ac.uk/stable/20074973?&Search=yes&searchText=stonard&list=hide&searchUri=%252Faction%252FdoAdvancedSearch%253Fq0%253Dstonard%2526f0%253Dall%2526c1%253DAND%2526q1%253D%2526f1%253Dall%2526acc%253Don%2526wc%253Don%2526fc%253Doff%2526Search%253DSearch%2526sd%253D%2526ed%253D%2526la%253D%2526pt%253D%2526isbn%253D&prevSearch=&item=1&ttl=184&returnArticleService=showFullText

[131]
Wilson, Andrew, Richard Hamilton, Swingeing London 67 (f), vol. One work. London: Afterall, 2011.

[132]
Hamilton, Richard, Tate Gallery, and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland), Richard Hamilton. London: Tate Gallery, 1992.

[133]
Banham, Reyner and Banham, Mary, A critic writes: essays by Reyner Banham. Berkeley: University of California Press, 1999.

[134]
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[135]
A. Wilson, ‘Gustav Metzger’s Auto‐Destructive/Auto‐Creative Art’, Third Text, vol. 22, no. 2, pp. 177–194, Mar. 2008, doi: 10.1080/09528820802012844.

[136]
Livingstone, Marco, Peter Blake: one man show. Farnham: [publisher not identified], 2009.

[137]
Grunenberg, Christoph, Sillars, Laurence, and Tate Gallery Liverpool, Peter Blake: a retrospective. Liverpool: Tate Liverpool, in association with Tate Publishing, London, 2007.

[138]
I. Macdonald‐Munro, ‘John Latham’, Third Text, vol. 22, no. 2, pp. 163–175, Mar. 2008, doi: 10.1080/09528820802012794.

[139]
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[140]
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[141]
Elderfield, John, Morris Louis: The Museum of Modern Art, New York. [Place of publication not identified]: The Museum of Modern Art, 1986.

[142]
Rowley, Alison, Helen Frankenthaler: painting history, writing painting, vol. New encounters. London: I.B. Tauris, 2007.

[143]
Greenberg, Clement, Art and culture: critical essays. Boston, Mass: Beacon Press, 1961.

[144]
Waldman, Diane and Solomon R. Guggenheim Museum, Kenneth Noland: a retrospective. New York: Solomon R. Guggenheim Foundation, 1977.

[145]
Wilkin, Karen and Noland, Kenneth, Kenneth Noland. Barcelona: Ediciones Polígrafa, 1990.

[146]
Rowley, Alison, Helen Frankenthaler: painting history, writing painting, vol. New encounters. London: I.B. Tauris, 2007.

[147]
N. Whiteley, ‘“Cultural Imperialism”?’, Third Text, vol. 22, no. 2, pp. 209–227, Mar. 2008, doi: 10.1080/09528820802013016.

[148]
Riley, Bridget, Cooke, Lynne, Elderfield, John, and Dia Center for the Arts (New York, N.Y.), Bridget Riley reconnaissance. New York: Dia Center for the Arts, 2001.

[149]
Moorhouse, Paul and Riley, Bridget, Eds., Bridget Riley. London: Tate Publishing, 2003.

[150]
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[151]
MacRitchie, Lynn, Hartley, Craig, and Schubert, Karsten, Bridget Riley: complete prints 1962-2010, 3rd rev. ed. London: Ridinghouse, 2010.

[152]
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[153]
Gooding, Mel and Ayres, Gillian, Gillian Ayres. Aldershot: Lund Humphries, 2001.

[154]
Mellor, David, The art of Robyn Denny: architecture, art, design, fashion, history, photography, theory and things. London: Black Dog, 2002.

[155]
Gooding, Mel, Bowling, Frank, and Royal Academy of Arts (Great Britain), Frank Bowling. London: Royal Academy of Arts, 2011.

[156]
Alloway, Lawrence, American pop art: An exhibition organised for and shown at the Whitney Museum of American Art, Apl.6-June 16,1974. New York: Macmillan.

[157]
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[158]
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[159]
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[160]
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[161]
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[162]
Doris, Sara, Pop art and the contest over American culture. Cambridge: Cambridge University Press, 2007 [Online]. Available: http://www.loc.gov/catdir/enhancements/fy0668/2006016729-d.html

[163]
Moorhouse, Paul, Sandbrook, Dominic, and National Portrait Gallery (Great Britain), Pop art portraits. London: National Portrait Gallery, 2007.

[164]
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[165]
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[166]
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[167]
Bastian, Heiner, Warhol, Andy, Neue Nationalgalerie, Berlin, and Tate Modern (Gallery), Andy Warhol: retrospective. London: Tate Pub.

[168]
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[169]
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[170]
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[171]
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[172]
Doyle, Jennifer, Flatley, Jonathan, and Munoz, José Esteban, Pop out: Queer Warhol, vol. Series Q. Durham: Duke University Press, 1996.

[173]
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[174]
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